Readers young and old will enjoy reading about Mary Peacock's fictional horse story infused with common emotions and silly illustrations.

#1 NATIONAL BESTSELLER • Two starcrossed magicians engage in a deadly game of cunning in the spellbinding novel that captured the world's imagination. • "Part love story, part fable ... defies both genres and expectations." —The Boston Globe The circus arrives without warning. No announcements precede it. It is simply there, when yesterday it was not. Within the black-and-white striped canvas tents is an utterly unique experience full of breathtaking amazements. It is called Le Cirque des Rêves, and it is only open at night. But behind the scenes, a fierce competition is underway: a duel between two young magicians, Celia and Marco, who have been trained since childhood expressly for this purpose by their mercurial instructors. Unbeknownst to them both, this is a game in which only one can be left standing. Despite the high stakes, Celia and Marco soon tumble headfirst into love, setting off a domino effect of dangerous consequences, and leaving the lives of everyone, from the performers to the patrons, hanging in the balance.

Welcome to the White House. At the heart of Washington, there is a circus. It's raucous, noisy and full of clowns. Reporting on it is a daily cacophony. Four major stories can blow up and blow out before breakfast, and political weather systems are moving at warp speed. The one thing absent from the weather forecast is the tranquil eye of the storm. That we never see. In A Year at the Circus: Inside Trump's White House, BBC North America Editor, Jon Sopel, takes you inside Trump’s West Wing and explores the impact this presidency has had on the most iconic of American institutions. Each chapter starts inside a famous Washington room, uncovering its history and its new resonance in the Trump era. You are invited to step inside the Oval Office where Trump called for loyalty from FBI Director James Comey, and experience life as a reporter in the Briefing Room, where the tense relationship between the media and the President is played out. Guiding you through these rooms, Jon reveals the inner workings of the Trump White House and details the key moments and conversations that have unfolded within its walls. From Kim Jong-un and Kavanaugh to Merkel and the Mueller Inquiry - this is your insider guide to the Washington Circus. Roll up, roll up ...

Jamie's tyres squealed to a halt. Standing in the glare of the headlights was an apparition dressed in a puffy shirt with a garish flower pattern It wore oversized red shoes, striped pants and white face paint. It stared at him with ungodly boggling eyes, then turned away...this seemingly random incident triggers a nightmarish chain of events as Jamie finds he is being stalked by a trio of gleefully sadistic clowns who deliver a terrifying ultimatum: you have two days to pass your audition. You better pass it, feller. You're joining the circus. Ain't that the best news you ever got? Jamie is plunged into the horrific alternate universe that is the centuries-old Pilo Family Circus, a borderline world between hell and earth from which humankind's greatest tragedies have been perpetrated. Yet in this place peopled by the gruesome, grotesque and monstrous, where violence and savagery are the norm, Jamie finds that his worst enemy is himself - for when he applies the white face paint, he is transformed into JJ, the most vicious clown of all. And JJ wants Jamie dead.

From the 1870s to the 1960s, circuses crisscrossed the nation providing entertainment. A unique workforce of human and animal laborers from around the world put on the show. They also formed the backbone of a tented entertainment industry that raised new questions about what constituted work and who counted as a worker. Andrea Ringer examines the industry-wide circus world--the collection of shows that traveled by rail, wagon, steamboat, and car--and the traditional and nontraditional laborers who created it. Performers and their onstage labor played an integral part in the popularity of the circus. But behind the scenes, other laborers performed the endless menial tasks that kept the show on the road. Circus operators regulated employee behavior both inside and outside the tent even as the employees themselves blurred the line between leisure and labor until, in all parts of the show, the workers could not escape their work. Illuminating and vivid, Circus World delves into the gender, class, and even species concerns within an extinct way of life.

A Hindi film star and an American missionary are twins separated at birth; a dwarf — a former circus clown — mistakes the missionary for the movie star. And stalking one of them is a serial killer...

The nineteenth century saw the American circus move from a reviled and rejected form of entertainment to the “Greatest Show on Earth.” Circus Life by Micah D. Childress looks at this transition from the perspective of the people who owned and worked in circuses and how they responded to the new incentives that rapid industrialization made possible. The circus has long been a subject of fascination for many, as evidenced by the millions of Americans that have attended circus performances over many decades since 1870, when the circus established itself as a truly unique entertainment enterprise. Yet the few analyses of the circus that do exist have only examined the circus as its own closed microcosm—the “circus family.” Circus Life, on the other hand, places circus employees in the larger context of the history of US workers and corporate America. Focusing on the circus as a business-entertainment venture, Childress pushes the scholarship on circuses to new depths, examining the performers, managers, and laborers’ lives and how the circus evolved as it grew in popularity over time. Beginning with circuses in the antebellum era, Childress examines changes in circuses as gender balances shifted, industrialization influenced the nature of shows, and customers and crowds became increasingly more middle-class. As a study in sport and social history, Childress’s account demonstrates how the itinerant nature of the circus drew specific types of workers and performers, and how the circus was internally in constant upheaval due to the changing profile of its patrons and a changing economy. MICAH D. CHILDRESS received his PhD in history from Purdue University and currently works as a Realtor® in Grand Rapids, Michigan. His articles have appeared in Popular Entertainment Studies and American Studies.